Pedagogy Learning And Creativity

In every era, global progressive thinkers have used creativity as a means for cultural reformation and social justice in response to oppressive regimes. For example, theater, cartoons, social art, film, and other forms of representative arts have always been used as critical instigation to create agency or critical commentary on current affairs. In the education sector, teachers in schools often say one of two things: they are not creative or that they don't have the time to be creative given the curricular demands and administrative mandates that they are required to follow. Each day, educators are working to find exceptionally creative ways to engage their students with limited resources and supplies, and this becomes even more of a challenge during turbulent times. Creativity as Progressive Pedagogy: Examinations Into Culture, Performance, and Challenges primarily focuses on pedagogical creativity and culture as related to various aspects of social justice and identity. This book presents experience-based content and showcases the necessity for pedagogical creativity to give students agency and the connections between cultural sensitivity and creativity. Covering topics such as the social capital gap, digital spaces, and underprivileged students, this book is an indispensable resource for educators in both K-12 and higher education, administrators, researchers, faculty, policymakers, leaders in education, pre-service teachers, and academicians.

The chapters in this book explore the methods by which the many aspects of creative pedagogy might be implemented in the context of teaching and learning. One chapter proposes a creative approach to studying local history, while another suggests a pedagogical framework for coding education that has the potential to foster the development of creative thinking abilities and equip individuals to actively participate in global affairs. The utilization of case studies in the field of Citizen Science demonstrates the implementation of a comprehensive and innovative learning framework that incorporates several sensory modalities. Another chapter demonstrates the potential of maker spaces in fostering active and creative learning as well as enhancing student engagement among underrepresented and minority populations. One chapter explores the emergence of flow in STEAM activities as a means to promote heightened levels of comprehension and active engagement in science education. The book concludes with the presentation of two scholarly studies on the implementation of creative pedagogy within the context of Higher Education. The first study explores the advantages of collaborative creativity within the bachelor of social work programs. The second delves into the pursuit of an innovative design that effectively connects the curriculum with the work environment, resulting in the integration of valuable educational content inside professional settings.

Whilst recognition of the role and nature of creativity and interest in creative pedagogical practice has grown, tensions persist at several levels, particularly in accountability cultures, where international comparisons of literacy, numeracy and science frame, shape and often limit policy, practice and curricula. Responding to this context, the book draws together the work of a number of eminent scholars of creativity and creative pedagogies. It offers diverse perspectives from Colombia, Denmark, England, France, Poland, Hong Kong, and the USA and highlights differences as well as similarities across cultural contexts. Individually and collectively, the authors reveal both the complexities and the possibilities of creative pedagogies. While some focus more upon conceptual challenges, others examine classroom practice, both that of teachers and visiting artists, and identify difficulties as well as potential possibilities. In offering hope as well as challenge, creative approaches to learning are of interest to all educators. This book was originally published as a special issue of Education 3-13: International Journal of Primary, Elementary and Early Years Education.

A rounded, comprehensive, guide to issues of practice, pedagogy and policy concerned with creative education.

This book provides students and practising teachers with a solid, research-based framework for understanding creative problem solving and its related pedagogy. Practical and accessible, it equips readers with the knowledge and skills to approach their own solutions to the creative problem of teaching for creative problem solving. First providing a firm grounding in the history of problem solving, the nature of a problem, and the history of creativity and its conceptualisation, the book then critically examines current educational practices, such as creativity and problem solving models and common classroom teaching strategies. This is followed by a detailed analysis of key pedagogical ideas important for creative problem solving: creativity and cognition, creative problem solving environments, and self regulated learning. Finally, the ideas debated and developed are drawn together to form a solid foundation for teaching for creative problem solving, and presented in a model called Middle C. Middle C is an evidence-based model of pedagogy for creative problem solving. It comprises 14 elements, each of which is necessary for quality teaching that will provide students with the knowledge, skills, structures and support to express their creative potential. As well as emphasis on the importance of self regulated learning, a new interpretation of Pólya's heuristic is presented.

The Pedagogy of Creativity represents a groundbreaking study linking the pedagogy of classroom creativity with psychoanalytical theories. Taking a classroom-based example of poststructuralist methodology as its starting point, Anna Herbert’s investigation explores the relationship between creativity seen in psychological activity, such as dreams, and creativity seen in the classroom, asking the following questions: What might a methodology which taps into different forms of creativity look like? Could such a methodology support current neuropsychological theories of memory and learning? What are the consequences of imaginary and symbolic orders of knowledge for the understanding of both conscious and unconscious creativity in the classroom? Exploring the ideas of a number of psychological analysts including Jacques Lacan’s four discourses, concepts of ‘the other’ and the theories of Postructuralist thinkers including Levinas, Mead and Kristeva, Herbert explains how different theories can be used to develop creativity in the classroom and surmount obstacles preventing creative environments. Clearly presenting both theoretical positions and their bearing on classroom practice, teachers at all levels will benefit from this innovative approach to creativity, as will school psychologists and all professionals interested in the links between psychoanalysis and pedagogy. Herbert clearly communicates both theoretical positions and their bearing on classroom practice. Teacher at all levels will benefit from this innovative approach to creativity, as will school psychologists and other professionals interested in the links between psychoanalysis and pedagogy.

Set against a background of targets, tests and restrictive curriculum content, this book argues the case for creativity in education.

Educators and education policy has increasingly acknowledged the value of creativity and creative approaches to education in particular. This book highlights a range of innovative teaching techniques successfully employed by teachers from a range of disciplines and education levels in order to share knowledge regarding creative education.